"When it came time to find a composer for Da Vinci's Demons, Bear was an obvious choice," says series creator David S. Goyer. "I wanted anti-period music for Da Vinci. Meaning, I didn't want something that sounded like Richard Lester's Three Musketeers. I wanted Bear to change things up-to use contemporary sounds and instruments as well as period ones. Bear didn't disappoint. When Bear played me his demo for the main title theme, I was blown away."

McCreary earned his first Emmy Award for the Da Vinci's Demons Main Title. "When I first played [Goyer] my mock-up, he gave me the greatest feedback a producer can bestow upon a composer: 'That's it? It's too short. It stops right when it gets good!'" To accommodate this, Goyer did something that a director hardly ever does. "He re-cut the pilot episode to extend the Main Title Theme long enough for me to make a satisfying, musical statement."

"For me, the score is one of the mostif not the mostimportant element of a film's final cut. Done right, it is the ultimate representation of a piece's ambitions, whilst still remaining ambiguous enough to not overwhelm the listener with its message; both invisible when attached to the scenes it's scoring, yet beautifully all-consuming when released from the images it originally accompanied; instantly evoking emotions in viewers that may be buried layers-deep within a scene, whilst at the same time managing to highlight and refine the elements at its surface," said series star Tom Riley. "Bear McCreary's season one score for Da Vinci's Demons not only meets all those expectations, but surpasses them, flips them on their head, and at times pulls their pants down and runs away laughing."

McCreary's sweeping orchestral score for Da Vinci's Demons was meticulously researched to accurately represent the time period, without being bound to it. His score combines full orchestra, Renaissance instrumentation, choir and ethnic soloists with the renowned Calder Quartet and surging contemporary synthesis.

"In a weird way, even though I'm doing stuff that is done with Renaissance instruments, this is the most stylized show I've ever worked on," said McCreary.

Bear McCreary's unique combination of atypical instrumental background (he is a professional accordionist) with rigorous classical training prepared him to compose for disparate genres. By the age of 24, McCreary was launched into pop culture history with his groundbreaking score to Syfy's hit series Battlestar Galactica, for which he composed "the most innovative music on TV today" (Variety). It "fits the action so perfectly, it's almost devastating: a sci-fi score like no other" (NPR). Io9.com declared Bear McCreary one of the Ten Best Science Fiction Composers of all time, listing him alongside legends John Williams, Jerry Goldsmith and Bernard Herrmann, and WIRED Magazine called McCreary a "Secret Weapon."